At Des Grey Mastering, our task was to preserve that visceral atmosphere, tone and feel across all delivery formats, with a specific focus on the 2xLP Vinyl release.

From Prison Cells to High-Fidelity: The Selection Process

Mastering an album produced and partially recorded in a former prison cell—where Nelson Mandela and other political icons were once held—requires a unique approach to feel preservation.

The Goal: Maintain the “air” and natural ambiance of the Flame Studios environment and the specific tone Charles Webster was pursuing, while ensuring the tracks felt cohesive despite having multiple collaborators.

The Choice: We utilized a hybrid analog chain—specifically the Manley Massive Passive and Crane Song Ibis—to add harmonic depth without clouding the intricate, infused textures of tracks like “Rain.”

The choice between following an “industry standard” versus following the intention behind the music is a crossover where many engineers tend to sway toward the wrong end. Switching off the analyzers and, most importantly, switching off the need to process music with your eyes will lead to a more musical outcome in the majority of sessions.

It’s all about the music. Fans don’t care what the LUFS numbers are or what the latest “tips and tricks” you used were—it’s all about feeling. While mastering this record, “feel” was at the forefront of our decision-making process. The amount of harmonics introduced by the Crane Song Ibis on a specific band, combined with the tube saturation of the Manley Vari-Mu and the musical curves of the Massive Passive, all contributed to a sound that avoids the usual “make it loud and bright” approach. Instead, it provides a sense of warmth and nostalgia that many of the tracks benefited from.

With the tracks ultimately being cut to vinyl, loudness was not a major concern. While keeping sibilance and phase in line is non-negotiable for the format, leaving the dynamics free is ultimately what gives this record its unique, breathable feel.